Contemporaneity: Historical Presence in Visual Culture 2018-11-02T10:45:34-04:00 Jacqueline Lombard Open Journal Systems <p dir="ltr"><em>Contemporaneity</em> is an open access and peer-reviewed journal that publishes scholarly and artistic explorations of the diverse ways in which the complexities of being in time are expressed. <span style="color: black;">It is based</span> in the department of the History of Art &amp; Architecture at the University of Pittsburgh, and emerges from its innovative <a href="" target="_blank" rel="noopener">constellations program</a>. We publish question-driven research that resonates across disciplines, interrogating diverse visual material from across time using multiple methods. Our editorial board seeks to:</p> <ul> <li class="show" dir="ltr"> <p dir="ltr">Adhere to high publishing standards that preserve the integrity of scholarship</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Bring junior and senior scholars and editors together through a constructive, double-blind peer-review process</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Generate content of lasting intellectual interest to emerging and tenured scholars</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Provide a forum for junior and senior scholars to develop under-researched topics and experimental methodological approaches</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Make scholarly writing free and accessible online</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Lead critical discussions around current publications and developments in curatorial and artistic practice in flexible formats.</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Link art historical practice to a global discussion of visual cultures across disciplinary and methodological boundaries.</p> </li> <li class="show" dir="ltr">Encourage non-traditional formats</li> </ul> Presenting Race: Institutional Contexts and Critiques 2018-10-30T16:08:13-04:00 Marina Tyquiengco This special issue was inspired by the inaugural Consortium Workshop,<span class="Apple-converted-space"> </span><em>Race-ing the Museum, </em>funded by the A.W. Mellon Foundation. The contributions are mostly drawn from the participants of the workshop and their collaborators and students on projects begun after the workshop. Coming from anthropology, art, communication, education, and theatre arts, the articles in this edition are extremely diverse, taking a broad understanding of institutions. Like the workshop, this issue seeks to contribute to dialogues between fields surrounding issues of race, representation, and institutions. 2018-10-30T16:07:22-04:00 Copyright (c) 2018 Marina Tyquiengco Reflections on Race-ing the Museum, Two Years Later 2018-10-30T16:08:01-04:00 Shirin Fozi Kirk Savage History of Art and Architecture professors and co-facilitators of the <em>Race-ing the Museum</em> workshop, Fozi and Savage offer insights into the workshop, its context, and its achievements. 2018-10-30T16:07:22-04:00 Copyright (c) 2018 Shirin Fozi and Kirk Savage “An Imagined Border of Safety, Humanitarian Relief, and Creativity”: J.M. Design Studio’s Other Border Wall Project 2018-10-30T16:08:06-04:00 Nicole F Scalissi <p> </p><p class="AboutAuthorTitle">In April 2017, J.M. Design Studio—three Pittsburgh-based artists and designers—responded to the Customs and Border Protection's public request for proposals for a wall along the US-Mexico border. J.M. Design Studio then announced their own call for more border "wall" proposals from other artists. The following commentary details these prototype concepts and tracks the executive policies and rhetoric that established a foundation for the border wall. </p><p> </p><p class="AboutAuthorTitle">This commentary also shows how J.M. Design Studio’s prototype submission and the subsequent artistic platform they initiated both model how creative connection and the co-option of established public channels are themselves acts of political resistance in an era of disrupted democratic participation and ossified partisanship.</p><p> </p> 2018-10-30T16:07:22-04:00 Copyright (c) 2018 Nicole F Scalissi Hemispheric Conversations: Exploring Links between Past and Present, Industrial and Post-Industrial through Site-Specific Graffitti Practice at the Carrie Furnaces 2018-10-30T16:07:58-04:00 Caitlin Frances Bruce In this article, I briefly discuss a project I co-organized this year in collaboration with Oreen Cohen, Shane Pilster, Rivers of Steel, University of Pittsburgh, Pennsylvania Partners in the Arts, and the American Studies Association. Named “Hemispheric Conversations: Urban Art Project” we used international collaboration between artists in Chicago, Pittsburgh, and León Guanajuato Mexico as a platform for conversation about how to reimagine our shared urban spaces. In a political moment that might be a cause for despair, collaborative art practice in urban space can serve as one vehicle to reignite our shared sense of possibility and energy. 2018-10-30T16:07:22-04:00 Copyright (c) 2018 Caitlin Frances Bruce Kanaka 'Ōiwi Critical Race Theory: Historical and Cultural Ecological Understanding of Kanaka 'Ōiwi Education 2018-11-02T10:45:34-04:00 Nik Cristobal <p>The effects of colonization on Kanaka 'Ōiwi, the Indigenous people of Hawai'i, have led to the systematic distancing of Kanaka 'Ōiwi from their cultural ways of knowing, replacing it, instead with eurocentric standards of education that adversely impact Kanaka 'Ōiwi wellbeing. In this article, I provide an overview of the history of colonization of Kanaka 'Ōiwi through a critical race lens. Critical Race Theory and TribalCrit are reviewed in relation to their theoretical relevance to Kanaka 'Ōiwi epistemologies. A synthesis model of an adapted CRT and TribalCrit framework called, Kanaka'ŌiwiCrit is presented and discussed within the context of education as a space for resistance.</p> 2018-10-30T16:07:23-04:00 Copyright (c) 2018 Nik Cristobal Gregg Deal's White Indian (2016): The Decolonial Possibilities of Museum Performance 2018-10-30T16:07:59-04:00 Christiana Molldrem Harkulich <span>Gregg Deal (Pyramid Lake Paiute) is a performance and visual artist whose work deals explicitly in decolonizing the contemporary experience of Indigenous peoples. An analysis of his performance of</span><em>White Indian</em><span> in 2016 at the Denver Art Museum opens up the possibilities of performance as a method for museums to decolonize their spaces and curation. </span> 2018-10-30T16:07:23-04:00 Copyright (c) 2018 Christiana Molldrem Harkulich OjO Latino: A Photovoice Project in Recognition of the Latino Presence in Pittsburgh, PA 2018-10-30T16:08:02-04:00 Héctor Camilo Ruiz Sánchez Paulina Pardo Gaviria Rosa De Ferrari Kirk Savage Patricia Documet <p>In recent years, the Latino population has increased rapidly in areas with traditionally low concentration of Latinos. In these emerging communities, Latinos often live scattered, confronting social isolation and social services not tailored to serve their cultural and linguistic needs. Latinos’ invisibility in Pittsburgh is evidenced by the absence of records of the Latino presence in the city’s museums and public archives. <em>OjO Latino</em>, a community engaged project, sought to advance the inclusion of the Latino community in Pittsburgh through Photovoice. This participatory expression methodology enables individuals to share their stories with the larger public through cultural and artistic expression. The intentional organization of the project as a group activity facilitated the transfer of power over the project to participants, creating solidarity and fomenting trust. During four meetings participants took part in a short photography training, discussed their photographs addressing the meaning of being Latino in Pittsburgh, and selected 34 photographs for exhibition organizing them in four themes: Work, Costumes, Family and Landscape and climate. <em>OjO Latino</em> held one exhibit in a community venue and another one at the university. In addition, the photographs are available in an electronic public repository. <em>OjO Latino</em> served a dual purpose of expanding the visibility of Latinos in and educating the larger community. The <em>OjO Latino</em> team got closer to the ways Latino immigrants see and experience the city. Their gaze challenged our own views and experiences and also spoke the saliency of nostalgia and social networks in their lives. The open discussion of what it means to be Latino in an emerging community and the opportunity to produce a visual account of it, along with the acknowledgment of the presence of this diverse population promote human rights, ethnic identity as well as mental and social health.</p> 2018-10-30T16:07:23-04:00 Copyright (c) 2018 Hector Camilo Ruiz, Paulina Pardo, Rosa DeFerrari, Kirk Savage, Patricia Documet Border Check 2018-10-30T16:08:04-04:00 Hazel Batrezchavez <div class="page" title="Page 1"><div class="section"><div class="layoutArea"><div class="column"><p>Artist Portfolio </p></div></div></div></div> 2018-10-30T16:07:23-04:00 Copyright (c) 2018 Hazel Batrezchavez Looking/Not Looking 2018-10-30T16:08:13-04:00 Aaron Henderson Artist Portfolio 2018-10-30T16:07:23-04:00 Copyright (c) 2018 Aaron Henderson Destruction and Solution 2018-10-30T16:08:03-04:00 Meghan Kozal Artist Portfolio 2018-10-30T16:07:23-04:00 Copyright (c) 2018 Meghan Kozal Coming to Confidence 2018-10-30T16:07:59-04:00 Cecelia Ivy Price <p>Artist Portfolio </p> 2018-10-30T16:07:23-04:00 Copyright (c) 2018 Cecelia Ivy Price Gringolandia 2018-10-30T16:08:03-04:00 Jezabeth Roca Gonzalez <div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><span style="font-family: TimesNewRomanPSMT;"><span style="font-size: 16px;">Artist Portfolio </span></span></p></div></div></div> 2018-10-30T16:07:23-04:00 Copyright (c) 2018 Jezabeth Roca Gonzalez Football 2018-10-30T16:08:05-04:00 Nick Simko <p dir="ltr">Artist Portfolio </p> 2018-10-30T16:07:23-04:00 Copyright (c) 2018 Nick Simko Lawrence Paul Yuxweluptun: Unceded Territories 2018-10-30T16:08:11-04:00 Annika Johnson <p class="p1">Book Review: Karen Duffek and Tania Willard, eds. <em>Lawrence Paul Yuxweluptun: Unceded Territories</em>. With contributions by Glenn Alteen, Marcia Crosby, Jimmie Durham et al. Vancouver: Figure 1 Publishing and Museum of Anthropology at UBC, 2016. 182 pp.; 85 ills (chiefly color). Hardcover $45.00 (9781927958513)<span class="Apple-converted-space"> </span></p> 2018-10-30T16:07:23-04:00 Copyright (c) 2018 Annika Johnson The Invention of Race in the Middle Ages 2018-10-30T16:08:10-04:00 Jacqueline Lombard <p class="p1">Book Review: Geraldine Heng, <em>The Invention of Race in the Middle Ages</em>. New York: Cambridge University Press, 2018. 504 pp.; 10 ills. Hardcover, £34.99 (9781108422789)<span class="Apple-converted-space"> </span></p> 2018-10-30T16:07:23-04:00 Copyright (c) 2018 Jacqueline M. Lombard Modern Art in the Arab World: Primary Documents 2018-10-30T16:08:09-04:00 Golnar Yarmohammad Touski <p class="AboutAuthorTitle">Book Review: Anneka Lenssen, Sarah A. Rogers, and Nada M. Shabout. <em>Modern Art in the Arab World: Primary Documents</em>. New York: The Museum of Modern Art, in association with Duke University Press, 2018. 464 pp.; 49 ills.; 51 b/w ills. Paperback, $40 (1633450384, 9781633450387)</p> 2018-10-30T16:07:23-04:00 Copyright (c) 2018 Golnar Yarmohammad Touski Unsettled: Exhibiting the Greater West 2018-10-30T16:08:08-04:00 Lily Brewer <p class="p1"><span class="s1"><span class="Apple-converted-space">Unsettled </span></span>Exhibition schedule: The Nevada Museum of Art, Reno, Nevada, August 26, 2017—January 21, 2018; Anchorage Museum, Anchorage, Alaska, April 6, 2018—September 9, 2018; Palm Springs Art Museum, Palm Springs, California, October 27, 2018—February 18, 2019<span class="Apple-converted-space"> </span></p> 2018-10-30T16:07:23-04:00 Copyright (c) 2018 Lily Brewer 20/20: The Studio Museum of Harlem and the Carnegie Museum of Art 2018-10-30T16:08:12-04:00 Rebecca L. Giordano <p class="p1">Exhibition schedule: Carnegie Museum of Art, July 22–December 31, 2017<span class="Apple-converted-space"> </span></p> 2018-10-30T16:07:23-04:00 Copyright (c) 2018 Rebecca L. Giordano Blue Ruins: LaToya Ruby Frazier in Two Parts 2018-10-30T16:08:07-04:00 Benjamin Ogrodnik <p class="AboutAuthorTitle">This review considers LaToya Ruby Frazier's work in The Notion of Family, LaToya Ruby Frazier, The Silver Eye Center for Photography, September 21– November 18, 2017 and On the Making of Steel Genesis: Sandra Gould Ford, LaToya Ruby Frazier, The August Wilson Center, September 22– December 31, 2017. </p> 2018-10-30T16:07:23-04:00 Copyright (c) 2018 Benjamin Ogrodnik Letícia Parente in Pacific Standard Time: LA/LA (Los Angeles/Latin America) 2018-10-30T16:08:07-04:00 Paulina Pardo Gaviria This exhibit review considers three separate exhibitions that were part of <em>Pacific Standard Time: LA/LA (Los Angeles/Latin America)</em> for how their simultaneous showcase of works by Letícia Parente (Brazil, 1930–<ins cite="mailto:Annalisa%20Weaver" datetime="2018-09-02T14:19">19</ins>91) effectively revealed multiple layers of meaning in her work, while acting as a through line between exhibitions. 2018-10-30T16:07:23-04:00 Copyright (c) 2018 Paulina Pardo Gaviria